Soprano Adelaide Boedecker has been described as “emotionally transparent and beguiling of tone” (The San Francisco Chronicle). Ms. Boedecker is a former resident artist with the Pittsburgh Opera, and completed two summers as an apprentice artist with the Santa Fe Opera and Merola Opera Program.
Recently, Ms. Boedecker debuted the iconic role of Susanna in Le nozze di Figaro with James Conlon and James Darrah at Music Academy of the West. In the spring of 2019, Ms. Boedecker debuted as Pamina in Die Zauberflöte and covered the title role in Donizetti’s Rita with Sarasota Opera. Following that, Ms. Boedecker made her Opera Columbus debut in their Opera Swings Jazz concerts. Upcoming, Ms. Boedecker will be seen as Meridian in the Santa Fe Opera’s tour of UnShakeable, and will be premiering Moon, Bride, Dogs II and Bedtime Story with NANOWorks Opera Festival, directed by Stephanie Havey and conducted by Chaowen Ting.
Ms. Boedecker had great success at Merola, where she performed Stella in A Streetcar Named Desire and Despina in Così fan tutte. She also performed various roles with the Santa Fe Opera; including Ida in Die Fledermaus, Marie (cover) in La fille du régiment, Serpetta (cover) in La finta giardiniera, Lila/Laura (cover) in Cold Mountain, Tessa in Trinity, Sarah in Avastar, and Chrisann (cover) / Chorus Soloist in Santa Fe’s world premiere of (R)evolution of Steve Jobs.
Ms. Boedecker has also performed roles with Opera Birmingham (Micaëla in The Tragedy of Carmen), Performance Santa Fe (Yum-Yum in The Mikado), Opera Las Vegas (Clorinda in La Cenerentola), El Paso Opera (Clorinda in La Cenerentola), and Syracuse Opera (Clorinda in La Cenerentola).
While with Pittsburgh Opera, Ms. Boedecker performed Alice B. Toklas in 27, Marie (cover with performance) in La fille du régiment, Frasquita in Carmen, Anna in Nabucco, Beth in Little Women, Despina (cover) in Così fan tutte, and Mabrouka in Sumeida’s Song.
Ms. Boedecker is the winner of the Santa Fe Opera Anna Case MacKay Award, winner of the National Opera Association competition, scholarship division, and the second place winner of the American Prize competition for professional singers.
Ms. Boedecker made her professional debut at age 17, as Barbarina with the Sarasota Opera, and received her collegiate training at the University of Florida and Eastman School of Music.
Recent Reviews of Adelaide in m.a.w.’s Le nozze di figaro
“As Susanna, soprano Adelaide Boedecker delivered a thoroughly convincing performance in support of her vocal pyrotechnics”
-Michelle Drown, The Santa Barbara Independent, August, 2018
Recent Reviews of Adelaide in Santa Fe Opera’s Die Fledermaus:
“Adelaide Boedecker (soprano, as Adele’s sister, Ida) attested to the promise that lies within the current crop of apprentice singers…” – James M. Keller, The Santa Fe New Mexican, July, 2017
“Apprentices Adelaide Boedecker and Stephen Carroll made their characters, Ida and Dr. Blind, come to life.” – Maria Nockin, August, 2017
“Florida soprano Adelaide Boedecker, a 2017 Santa Fe Opera apprentice artist, was a sprightly Ida.” – Opera Warhorses, William July, 2017
“Adelaide Boedecker was the spunky, chirpy Ida.” – James Sohre, Opera Today, August, 2017
Recent Reviews of Adelaide in Merola Opera's Cosi fan tutte:
"Only soprano Adelaide Boedecker’s Despina, whose urgent vocal performance was matched with a delightfully tough, sharp-edged portrayal, proved consistently interesting to watch.”
-Georgia Rowe, Opera News, August, 2016
Reviews of Adelaide in Merola Opera's A Streetcar Named Desire:
"Soprano Adelaide Boedecker was a vivid Stella- emotionally transparent and beguiling of tone."
- Joshua Kosman, The San Francisco Chronicle, July, 2014
"Stella Kowalski gets some of the opera's best music, and Adelaide Boedecker's generous soprano made it soar."
- Georgia Rowe, Opera News, July, 2014
"Adelaide Boedecker is a reason to see the production. Her layered voice gets at the essence of Stella. Her singing is clear, direct and invigorating..."
- Richard Scheinin, The San Jose Mercury News, July, 2014
“...There are a small handful of fine stand-alone arias studded throughout the score - especially Stella's brief but exquisite Act 1 aria about the erotic hold Stanley has on her, which to my mind remains the most perfect stretch of the piece - Soprano Adelaide Boedecker was a vivid Stella - emotionally transparent and beguiling of tone.” - Joshua Kosman, music critic, The San Francisco Chronicle, July, 2014
“...As Stella, Adelaide Boedecker’s performance was the easiest to follow - and to fall for. Her soprano was consistent, she used it confidently, and coupled with her solid acting chops, she made an excellent impression. It would take a miracle to steal this show from Adams (Blanche) - who is rarely offstage - but Boedecker gave her a good run as the more nuanced and conflicted sister. She was heartbreaking in the final scene, a convincing mix of self-loathing and self-preservation.” - John Marcher, San Francisco's Performing Arts, Culture Calendar and Reviews, July, 2014
“...Soprano Adelaide Boedecker sounded supple and bright as Stella. Her sultry post-coital vocalise, accompanied by the plucking of a double-bass, was my favorite part of the opera.” - Axel Feldheim, San Francisco's "Not For Fun Only", July, 2014
“...Adelaide Boedecker is a reason to see the production. Her layered voice gets at the essence of Stella. Her singing is clear, direct and invigorating -- beautiful, without asking for attention. That's Stella, who has left behind her upscale youth to marry Kowalski (baritone Thomas Gunther), an auto parts supply man. They struggle financially. They have good sex. You know the story.” - Richard Scheinin, music critic, The San Jose Mercury News, July, 2014
“...Adelaide Boedecker's Stella and Thomas Gunther's Stanley Kowalski made a convincing couple, and each shone in their separate interactions with Blanche. While Gunther's acting task is straightforward, Boedecker was weighed and found not wanting in both the abused-but-unshakable relationship with Stanley, and the differently abused, but always loving loyalty to sister Blanche.” - The San Francisco Classical Voice, July, 2014
Recent Reviews of Adelaide in Pittsburgh Opera's 27:
"Soprano Adelaide Boedecker set the tone for the excellence of Pittsburgh Opera's cast. Throughout the opera, Boedecker negotiated her part's high tessitura with flair and ample power, and offered more dulcet tones for her character's mainly gentle interpersonal manner."
- Mark Kanny, Pittsburgh Tribune Review February, 2016
Recent Reviews of Adelaide in Pittsburgh Opera's Little Women:
"Beth... offers one of the opera's key moments of insight, telling Jo to accept her young sister's inevitable death. Playing Beth, Adelaide Boedecker captured this shift with a warm bold vibrato that deepened the otherwise simple character."
- Liz Bloom, Pittsburgh Post Gazette January, 2016
"Soprano Adelaide Boedecker's big moment was Beth's death scene... Her line was finely drawn, and her acting conveyed Beth's generosity and weariness."
- Mark Kanny, Pittsburgh Tribune Review, January, 2016